Her use of rhetorical questions aimed at her mother Helga stresses the confusion and lack of closure that many of the Kindertransport children had to cope with for the rest of their lives. Furthermore, the fact that Eva was a part of the Kindertransport leads to her feeling abandoned and isolated from her past life, emotions which cause her to make the decision to change her name to Evelyn. Through this change of name and therefore identity Samuels intends to show the audience that Eva’s coping mechanism is to detach herself entirely from her past life, this becomes clear when she rejects her birth Mother Helga in this scene. This total rejection of Evelyn’s past was created by Diane Samuel’s to mimic the reactions of real Kindertransport children. A crucial part of Samuel’s research for her play was hearing the real
The id being, “the dark, inaccessible part of our personality” ("New Introductory Lectures"), clearly proves how someone in Sarah’s life would be unable to completely understand her due to the fact that she hid her sorrowful past. Sarah was alone in the world even though she had both a loving husband and son because she would not share her feelings with
"Let's ride, let's just arc it up and go." But Boner is going nowhere, and Jackie is ultimately forced to register how little distance she herself has travelled from her parents' world and "the small- town girl I was". All this might make the stories sound both parochial and dispiriting, but these emblems of confinement are actually part of a broader and more complex
In Walker’s story Dee is so far removed from her family and her sister that the story ends with no hope of resolution. While Dee is trying to forget her past and assume a new identity “Not Dee; Wangero Leewanika Kemanjo”, Maggie is happy with her heritage, in spite of her sister judgments and insults “You should try and make something of yourself Maggie… (Walker 1337) It’s a new day for us but you would never know that from the way you and mama live. The story ends with Dee leaving with her new clothes, new name, nose turned up, and a broken relationship with her family. In Baldwin’s story the narrator (Sonny's brother) initially sees little value in his Sonny however as the story progress he realizes that although Sonny may not have the education and material things that he has, he has a god giving valuable gift (Music) “freedom lurked around us ad I understood that he could help us be free if we listened (Baldwin 80).” And in spite of all the negative things that have occurred in Sonny’s life, through music he is able to rise above it all. This realization creates a newfound bond between the brothers and the stories ends with a promise of a new unbreakable
In their younger years, they were told they would never fit in due to the color of their skin. In Helga's case because she was bi-racial she was always told. "If you couldn't prove your ancestry and connections, you were tolerated, but you didn't 'belong'." (Q.43). Even when Helga tries to get help from Uncle Peter she is rejected by his wife, Mrs. Nilssen, who tells her directly "Well, he isn't exactly your uncle, is he?
It states in the story that Dee's feet were shaped as if God shaped them with a certain style. Dee carried herself in a way that her family did not. Dee is a very disrespectful person in the short story "Everyday Use." She does not know how to treat her family. Her personalitly is not one that is liked by many.
The Grandmother tried to convince the Misfit he was a good man in order to save herself (O'Connor). When she could not achieve this task, she began to question Jesus herself, “Maybe He didn’t raise the dead,” the old lady mumbled, not knowing what she was saying and feeling so dizzy that she sank down in the ditch with her legs twisted under her.” (O'Connor). It’s unclear why she said what she said next. She reached out and touched the Misfit and told him, “Why you’re one of my babies. You’re one of my own children!” Upon this action, the Misfit shot
When Dee finds out that the quilts were already given to her sister, Dee gets furious and believes that she deserves the quilts more than Maggie and that Maggie would not take care of them as well as she would. Poor Maggie says to her mother "She can have them Mama...I can 'member Grandma Dee without the quilts". Maggie is used to never getting anything. Throughout the entire story, it says that Maggie gives up many things so Dee can have what she needs or wants. Dee is quite ungrateful.
Since she is the only woman on the ranch, she is set apart from the others. Curley, her own husband ignores her. He does not regard his wife as a person needing love and companionship, but rather as an object which can be put aside, pushed around. Instead of being attentive to his wife, Curley is frequently going out with “the boys” to a whorehouse. Curley’s wife has no love for her husband and wished to leave him, but her final escape route is blocked since her father is deceased and her mother doesn’t want her.
When the townspeople discover the remains of Homer Barron locked away in Miss Emily’s bedroom after her death, we see that Miss Emily ultimately rejected the values of her culture. This is true not only in rejecting its values on dating or marriage but also those disdaining murder. In this way Miss Emily rejects the rigid values that have ruled most of her life. As Dilworth (1999) maintains, “By entering a love affair with Homer Barron, Emily briefly rebelled against southern values and then, by ending her affair with him, at least as far as the townspeople were concerned, she conformed again to those values” (p. 251). In contrast, the narrator does not want to shoot the elephant but ultimately does.